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57 pages 1 hour read

Héctor Tobar

The Barbarian Nurseries

Héctor TobarFiction | Novel | Adult | Published in 2011

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Themes

Immigration in America

Immigration in America is a major theme all throughout the novel, and the author examines it from many different angles and perspectives. Tobar explores the fact that immigration is an extremely polarizing subject in the US today with seemingly no middle ground. When Maureen and Scott call the police to report their missing children, most of the authorities immediately believed that, because Araceli is an illegal Mexican immigrant, her motives must be nefarious. The story gains momentum in the news, suggesting that the public is full of similarly-minded individuals, regardless of truth. This would almost certainly not have been the case if the housekeeper was white or, just as crucially, if the parents were not white.

 

The faction of people who believe that illegal immigrants pose a threat to America is best represented by the characters of Ian Goller and Janet Bryson, who consider Mexicans “a wild invasive species” (290). They fear this culture they do not understand and make no effort to understand to the point that Goller proceeds with pressing charges he knows are false.

 

The book stands as an answer to this very real group of people. Tobar presents Araceli’s side of the story in equal part with the Torres-Thompsons. Her struggle against the media and public opinion is more serious and frightening than theirs. While they weather the storm by staying inside their massive house and essentially forgetting the unpleasantness, Araceli is in jail and fighting for her freedom. Neither party is necessarily to blame for the series of unfortunate events, but, as is said in Chapter 17, when the public has an opinion on a situation, there is a demand that “some grown-up had to be held responsible” (280).

 

Araceli perhaps says it best herself when she thinks during her arrest: “this is our Mexican glory, to be pursued and apprehended in public places for bystanders to see” (261). Factions of American society view Mexican Americans, especially illegal immigrants, as less than human—as barbarians; a concept that is brought to light in the book in an effort to humanize both sides of the divide.

 

The book offers no answers to the problem of this harsh divide in modern America, but it brings to light a very serious issue that so many Americans take for granted. Opinions shouted in political forums or during political discussions translate into real occurrences that can result in imprisonment and deportation, tearing apart lives and families. It is more than an issue of political divide; it is an issue of individual people. 

Criminalizing and Employing the “Other”

The title, The Barbarian Nurseries, refers both to the issue of immigration, in which others view certain groups as “barbarians,” and the issue of parenthood. Specifically, it refers to parenthood in reference to the segment of society that is wealthy enough to essentially outsource childcare. In California in particular, it is becoming more common for families to hire immigrants as nannies, due to the lower cost of their work.

 

Tobar explores the interesting repercussions of this new lifestyle. For example, Brandon and Keenan both have a tentative grasp of Spanish, while neither parent—even half-Mexican Scott—have the same. When the boys are staying with Isabel Aguilar for the day, they converse with her children in a bilingual dialect. This group of “barbarians” that the employers consider less-than are raising their children and passing on their heritage.

 

There are also several times throughout the novel where Tobar cuts away to other households with Mexican employees. When Araceli is arrested, the heads of these households are suspicious of their employees, but then regain trust in “My Lupe, my Maria, my Soledad… you will wave your chestnut hands and return these sheets and comforters to order, and you will erase the grease from the kitchen surfaces and keep the ants away” (284). Suggesting that the wealthy employees are so reliant on their help that they refuse to consider them a danger, despite their prejudice.

 

Additionally, during the media storm, several experts debate the morality of having Mexican nannies because “isn’t it a sign of weakness in our social fabric that we do this? It’s the most important job we have. It’s the foundation of our civilization… Motherhood” (316).

 

This theme appears in Araceli and Maureen as well. Maureen feels the pressure to be a good mother running a happy family. When Araceli is arrested, she believes Maureen is angry and “wants to punish me for acting like their mother, even though I never asked to be their mother” (247). Their personal struggle is over the concept of motherhood as defined by society, rather than the concept of doing what is best for the boys. 

Escapism

Throughout the novel, many of the characters try to escape their situations and their pasts. Most obviously, both Scott and Maureen attempt to escape their unhappy situation at home by leaving the house for a few days. Maureen goes to a spa to be pampered and taken care of—her idea of happiness. Meanwhile, Scott goes to Charlotte’s where he spends two days eating junk food and playing video games with her—essentially reverting to his bachelor lifestyle, when he was happy.

 

Both Scott and Maureen are also running from their unhappy childhoods. Maureen wishes to escape the memories of her abusive household and father, while Scott is trying to run from his lower-class, poor upbringing. Interestingly, Maureen and Scott end the novel by running away again, into a smaller house to escape the burden of their large house in the gated community. They want to leave all of their problems there, still without ever having truly talked about or confronted them: the issue of their surmounting financial problems remains.

 

Araceli is also running from her “her previous, directionless life in Mexico City” (4). She came to the US to escape and does things like save extra money for herself and create art to free herself from her oppressive past. She also literally runs from the police when they come to try to arrest her—though notably, she never runs away from the responsibility of caring for Brandon and Keenan.

 

In the final chapter, Araceli is running again. Ostensibly, she and Felipe are running to escape ICE, which will surely be looking for her. However, this flight has a different feeling—while she is trying to escape, there is the sense that she is running toward the future instead of away from the past. She has grown and has realized that she is powerful and her own person regardless of her past and experiences.

Hero’s Journey

The classical Joseph Campbell structure of the hero’s journey is a major theme in the book. This archetype is based on the shared structure of hero stories throughout mythology and was developed by Joseph Campbell into a series of story beats that all have in common:

·       Departure—The hero leaves on a journey or quest. Within this stage are smaller milestones, like the call to adventure, crossing of the threshold, and being in the belly of the whale.

·       Initiation—The hero endures the journey or quest, which usually includes a road of trial, meeting with key figures, apotheosis, and ultimate reward.

·       Return—The hero returns from the adventure with a reward, and is also wiser and free to live, usually “happily ever after.”

 

Araceli’s “call to adventure” is being alone with the two boys while their parents try to run away from their responsibilities. Like a Campbell hero, she does try to refuse the call, waiting and hoping that their parents will return. However, at the same time, she feels responsible for them and cares about them. She accepts the “call to adventure” by refusing to call Foster Care because she “did not want to be responsible for that loss of innocence” (149).

 

The three set off on their journey, “crossing the threshold” into adventure by leaving the gated community. When they find themselves deep in LA, “in the still and ugly oxygen of a real city,” they are in the “belly of the whale,” which is a hallmark of the hero’s journey (173).

 

Next in the Campbell archetype is the “road of trials”—as Araceli struggles to find the boys’ grandfather, she meets with many obstacles and trials along the way. However, she overcomes all of these. In the end, the Campbell mythology calls for “apotheosis,” or an understanding of the truth of life. For Araceli, this comes when she decides not to return to the Torres-Thompsons; she understands that she needs to go and live a true, engaged life somewhere, so when she leaves the Lujans, she is happy and walks “a deliberately unhurried pace” (257).

 

In the end, the Campbell hero is supposed to receive a reward. This is where the author begins to twist the archetype, because instead of a reward, Araceli is arrested. She cared for the boys and protected them, but only receives distrust, false accusations, and imprisonment.

 

In the end, however, Araceli does get to experience the Return of the hero’s journey. Her “magical flight” is escaping from the immigration with Felipe and she becomes “master of the two worlds” and gains “freedom to live” by accepting her right to choose between Mexico and the US. Araceli points away into the distance and tells Felipe: “that way” (422). 

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